A Quote by Harold Prince
Collaboration is just, really, a group of people getting in a room with their eye on a very similar prize and wanting to come out with the same show. The director, ultimately, is the guy in front of whom the buck stops. So, he has to have the courage to prevail. But, he has got to have a huge amount of respect for his collaborators.
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The collaboration wish list is huge, very long. It goes from people like Elton John, for whom I have an unbelievable amount of respect, to Snoop Dogg, whom I also respect a great deal.
I've heard directing talked about as being a benign dictatorship, and I think that's probably the best way a director should be. They're open to collaboration and feedback from people, but ultimately, it's got to be that one person's vision. That's what I think makes a film really stand out.
A lot of people look down on people who are successful, but Conor McGregor is successful because he runs his mouth and he knows how to put on a show. I mean, look at his press conferences. I mean, come on. People show up just to see him just act nuts. Hats off to that guy, he's a very intelligent, very smart guy.
I want a room that I can definitely pack out. I don't want to sweat that part, "Am I gonna have enough people?" So I usually pick like a hundred, a relatively small room. Also, I'm looser in a small room. I don't want to record an album in front of a thousand people, not that I could draw a thousand, but I just want a room that I can really work back to front. That's just a very comfortable place for me to be loose.
I respect my competitors, you know, I get respect back from them. I respect people out there who pay for their tickets to come watch us compete. And I respect the reporters because they've got to come out here and tell a good story. That's what it is. It's just a cycle of respect.
As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.
The thing I love about political interviews is, if you're really prepared, you can make great headway because these are the people for whom, theoretically at least, the buck stops.
It's very difficult for me to travel now without music just because I'm so spoiled. It's a huge luxury to go and play your music for all these people around the world and having come up to you in a special way - they really want to show your their city, or really want to show you where they are from. If you are just traveling, you don't get that same welcome.
It feels like the more I'm out there in the public eye, the more criticism I get. You need to have confidence - that's what it takes to walk out there and sing a song in front of a huge group of people.
You can't show up on set and expect it all to come together. You have to have a plan, much like how the director can't just show up and go, well, where should I put the camera? That is gonna determine how it is lit, you should have already been in the room looking at it earlier, pre-lit the room, you know there is a lot of prep that goes into it, so it is the same thing with acting. You can't just show up.
My favorite thing about acting is you have to learn how to work with people that you probably would never try to. Some people just aren't supposed to be in a room together, and you have to be in a room with a group of people who might not all get along and you have to figure out how to come together for one thing. That collaboration is special, and people don't get to exercise that. I think that's why people become stubborn, and I think that's why people become uninspired to change. In this job you have to.
The thing about collaborators is that you don't know you are one whereas as a member of the resistance, you do. [In WWII,] the worst cases of collaboration weren't among the real collaborators, that official militia, but among the people at large, who were collaborators without knowing it, by a sort of laxity, an apathy.
Rip Torn thought I was being a wise guy, and one afternoon he got pretty angry with me after telling me to do something and he thought I was pretending like I didn't know what he meant.But he was very frustrated. He was very frustrated as a director in trying to get his little theater group going. It was called The Sanctuary Theater Workshop, I think, and he wanted to do these classical plays by people like August Strindberg, and he was fighting hard to get his show up and be good and be professional.
Talking to people who have served was eye-opening and left me with a huge amount of respect for what they do.
I remember we were out on the road when the album finally came out in February 1973. I listened to it in my hotel room and just got this really big smile. I was thinking, 'It's amazing, we're really pulling this off'. The album was very, very unique and very, very different. I was really proud of the songs, especially 'No More Mr Nice Guy', 'Billion Dollar Babies' and 'Generation Landslide'.
I was doing that [a collaboration with Kurt Cobain] to try to save his life. The collaboration was me calling up as an excuse to reach out to this guy. He was in a really bad place.
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